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Indian Sandpaintings of Southern California

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Indian Sandpaintings of Southern California UC Merced Journal of California and Great Basin Anthropology Title Indian Sandpaintings of Southern California Permalink https://escholarship.org/uc/item/59b7c0n9 Journal Journal of California and Great Basin Anthropology, 9(1) ISSN 0191-3557 Author Cohen, Bill Publication Date 1987-07-01 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Journal of California and Great Basin Antliropology Vol. 9, No. 1, pp. 4-34 (1987). Indian Sandpaintings of Southern California BILL COHEN, 746 Westholme Ave., Los Angeles, CA 90024. OANDPAINTINGS created by native south­ were similar in technique to the more elab­ ern Californians were sacred cosmological orate versions of the Navajo, they are less maps of the universe used primarily for the well known. This is because the Spanish moral instruction of young participants in a proscribed the religion in which they were psychedelic puberty ceremony. At other used and the modified native culture that times and places, the same constructions followed it was exterminated by the 1860s. could be the focus of other community ritu­ Southern California sandpaintings are among als, such as burials of cult participants, the rarest examples of aboriginal material ordeals associated with coming of age rites, culture because of the extreme secrecy in or vital elements in secret magical acts of which they were made, the fragility of the vengeance. The "paintings" are more accur­ materials employed, and the requirement that ately described as circular drawings made on the work be destroyed at the conclusion of the ground with colored earth and seeds, at the ceremony for which it was reproduced. times employing other natural materials or A photograph of one has yet to be pub­ artifacts. lished.^ However, detailed descriptions and Created in an atmosphere of utmost rough schematizations recorded by early eth­ secrecy and piety, the drawings were the nographers can be used to reconstruct this culmination of an elaborate theatrical per­ now-lost art form. formance which was conducted by an inter­ A S5mthesis of information collected on tribal group of shamans, elders, initiates, and Califomia sandpaintings has yet to be made. lay participants. The cosmological diagram Descriptions of the ceremonial contexts in had to be created anew before the eyes of which the paintings played a role are avail­ each crop of initiates, and was then pur­ able in the classic ethnographies of southem posely destroyed in order to hide it from California published in the first decade of unqualified observers. Although the map was the twentieth century (Rust 1906; Du Bois intended to be reproduced as closely as pos­ 1908a; Kroeber 1908a, 1908b; Sparkman 1908; sible to its traditional format, each was Waterman 1910). These were supplemented unique in that a part of the individual for by the studies of subsequent investigators whom it was made was symbolically incor­ (Spier 1923; Strong 1929) and partially sum­ porated in the diagram, and by extension, marized by Kroeber (1925). Salvage work by the universe. First reported by the explorer anthropologists in the 1930s was largely Vizcaino in 1602 (Venegas 1966:106-107), limited to recording the prior existence or sandpaintings had largely died out by the absence of sandpaintings among tribes of the beginning of the present century owing to consultants interviewed, without placing this the pressures of missionary activity and knowledge in a wider, theoretical framework large scale Euro-American immigration. (Gifford and Lowie 1928; Gifford 1931, 1933; While sandpaintings of southern California Drucker 1937; Meigs 1939). More recently, [4] INDIAN SANDPAINTINGS OF SOUTHERN CALIFORNIA culture historians such as Hudson (1979) and mounds were meant to symbolize animals, Oxendine (1980) have added to the corpus of geographic features, and heavenly bodies information on sandpaintings by publishing (Fig. 1, upper). data from the fieldnotes of John P. Harring­ Color Symbolism in Sandpaintings ton, collected between 1910 and 1930. How­ ever, no in-depth, cross-cultural analysis of Colors employed in the paintings came sandpaintings has been attempted. from a variety of sources and had specific This paper considers the sandpaintings of symbolic meanings.^ For instance, in the southem Califomia from a variety of points sandpainting made for the Luiseiio girls' of view. Included are a reconstruction of puberty ceremony, the white outer circle the origin, diffusion, and historical develop­ represented the Milky Way; the red central ment of the phenomenon, the role of the art one, the sky; and the black inner one sym­ in its religious context, and a stylistic bolized "our spirit" (Du Bois 1908a:88) (Fig. analysis and comparison of similarities and 1, upper and lower). The fact that the differences in conception across a wider layered universe concept was associated with geographical area. The paper also considers color symbolism is interestmg in that, with the paintings as cartographical projections, the exception of the Northern Diegueiio, or and discusses how they reflect native ideas Ipai, southern Californians lacked the highly about the cosmological structure of the uni­ developed association of colors with parti­ verse and the moral place of humans in it. cular directions that is so characteristic of Ceremonies which accompanied the ground- the Plains and Southwestern tribes.^ paintings are described here only in a Beyond cosmological symbolism, the col­ schematic/summarized form because of space ors had complicated sociological implications. limitations and the availability of full expo­ In many native southern California lan­ sition in the literature. Thus, the study is guages, the term "paha" or shaman meant concerned primarily with the function of the "red racer snake.'"* Shamans painted paintings in ritual as part of an intertribal themselves red on one vertical half of the network of reciprocal social relationships. body and black on the other to represent a Comparisons with other pictographic tribal union of the male racer snake, which is red, art forms are explored also. with the female of the species, which is black.^ Red and black snakes are a central FORM AND SYMBOLISM feature of Ipai sandpainting and are consid­ Considered as a group, the sandpaintings ered to be "beyond all other creatures the of southern California convey an impression medium through which falls punishment for of stylistic homogeneity. Most were round ceremonial offenses" (Waterman 1910:303) in shape and measured from one and one- (Fig. 2, upper). Their importance is also half to eighteen feet in diameter. The circle emphasized in that they are one of the only often was composed of several concentric animals in the sandpaintings depicted natur- rings, and frequently was bisected by lines alistically, with attention to actual detail, referring to the cardinal directions. A rather than with stylized right angles meant round cavity was dug in the center of the to symbolize various creatures. Red and painting and around it often were grouped black body painting also distinguished roughly linear figures and variously shaped Luiseiio moieties (Strong 1929:290) and mounds of colored earth. These figures and Southern Diegueiio sexes (Spier 1923:341). JOURNAL OF CALIFORNIA AND GREAT BASIN ANTHROPOLOGY Fig. 1. Sandpaintings used in Luiseiio girls' puberty Fig. 2. Sandpaintings used in Ipai boys' puberty cere­ ceremony. Upper, after Kroeber (1925:Fig. 16); monies in two different villages. Upper, from lower, after Du Bois (1908a:Fig. 2). Waterman (1910:Plate 24); lower, from Water­ man (1910:Plate 25). Sandpainting Materials heated sand. Here they were deprived of all The materials used in the sandpaintings food and even movement, in order to prove also had a symbolic and ceremonial signifi­ their endurance and readiness for life's cance. Throughout most of Califomia and in future hardships. Warm sand was also ap­ many parts of the westem states, partici­ plied to make the sick strong, and to ease pants in the girls' initiation were made to women after childbirth (Underbill 1941:37). lie still for several days in a pit lined with Thus, the medium of the sand itself was INDIAN SANDPAINTINGS OF SOUTHERN CALIFORNIA conceived of as a strength-inducing, life- giving agent which became particularly im­ portant in the ceremonies surrounding most of the occasions for producing sandpaintings. The Luiseiio also created a groundpainting upon the deaths of those who had taken jimsonweed, in which the personal feathers of the deceased were buried in the central hole of the painting (Du Bois 1908a:92-93). According to Villasenor (1963:11), the white ashes and charcoal dust were "symbolic of the fire, or life that has gone out of exis­ tence and returned again to the place of emergence." When applied directly to the body for decoration, the same materials were thought to have medicinal qualities including protecting the body from heat in the fire dance (Du Bois 1908a:81), from cold after Fig. 3. Tipai sandpainting (after Spier 1923:320). taking jimsonweed, and to promote longevity (Waterman 1910:297). Sandpaintings and Cosmology Comparing the materials used in the Since sandpaintings were illustrations of sandpaintings of Califomia and the pollen the universe as conceived in the mythology and meal paintings of the Southwest, Under­ and beliefs of southem California tribes, an bill (1948:46) concluded that understanding of native cosmology is vital. Applegate (1977:110) provided a succinct the meal symbols developed among summary of the data. agriculturalists concerned with growth ceremonies while the sandpainting was a A tripartite division of the universe into tool of the shamanistic healer. In view of upper, middle, and lower worlds is a basic its constant connection with initiation, I cosmological assumption throughout Cali­ am more inclined to connect it with that fornia. The middle world is the world rite and with the instruction of youth. of men, usually circular and surroimded by a sea or void; each tribe considers its homeland to lie at the geographical center This fundamental difference in style and of this middle world.
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